“I have all my subjects to hand, I go and look at them. I take notes. Then I go home. And before I start painting I reflect, I dream.” PIERRE BONNARD
Without any doubt, Pierre Bonnard has been a major influence on my work. Not just his dazzling colour, but a whole process of working, from drawings and memory, In advance of the recent 'Bonnard' workshop at the Queens Park Art Centre in Aylesbury, the artists were asked to make studies of a favourite window (and cat!) as preparation for their paintings. After an introductory talk, we had a group drawing exercise echoing Bonnard's fluid compositions.
Colour Study
Then onto a colour-exercise, following Bonnard's signature of working with complimentary colours. The artists were asked to use different types of brushes in finding 2 colours: a warm/cool combination - with variations and interactions between them - finding an ideal balance & proportion. This then became the palette for their paintings, alongside a third colour, the pink ground prepared on their canvases. My demonstration study went shockingly wrong on the first attempt, but thankfully rescued on the second (above).
The Studio at Queens Park Art Centre
Then we began our paintings, working from the studies and memory. In the spirit of Bonnard, the artists were encouraged to explore the idea of bringing the colours from outside, inside, finding a 'bridge of colour', and to be open to making changes from their original ideas as the paintings developed. I thoroughly enjoyed the individual tuition/conversations with the artists over the 2 days and as always we finished the workshop with an invaluable Group Critique.
Marion Owen - the final move!
Above and below are before and after paintings by Marion Owen and Antonia Glynne-Jones. I love the invention of Marion's final move, on the right, of the dark shadow under the door, that mirrors the angled structure above. What a difference the blue cats make in Antonia's painting, bringing a playful rhythm of blues across the painting, fabulous with the contrasting orange!
Blue cats - Antonia Glynne-Jones
What we didn't have on the workshop was time - Bonnard's paintings were developed over weeks, months, even years - but over the 2 days, the artists came up with some very exciting paintings in glowing colour, with many, of course, to be developed further with ideas and methods learned from Bonnard and the workshop. Hats off to the artists!
'Self Portrait' Pierre Bonnard 1889
'Thank you for a wonderful two days, brilliant workshop and exercises that fired me up!' MARION OWEN